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DISPATCHES FOR 
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THF AMAZONS Farce in Three Acts. Seven males, five fe- 
IIl£i /\lTli\r«vFli»J m^iles. Costumes, modern; scenery, not 
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THE CABINET MINISTER 



Farce in Four Acts. Ten 
males, nine females. Cos 
tumes, modern society; scenery, three interiors. Plays a full evening. 



riANriY niPK^ Farce in Three Acts. Seven males, four fe- 
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TUP C KY I fll?n ATTFY Comedy in Four Acts. Fourmales, 
in£i Uill LiV/lVl/ VfUIIiA ten females. Costumes, modern; 
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UIQ UnfTCr fW Al^ni7P comedy in Four Acts. Nine maleSi 
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THI7 HURRY HflUQF Comedy in Three Acts. Ten males, 
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IRIS 



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I PUTTY ^^^™^ i^ Four Acts and an Epilogue. Ten males, five 
IjEiI I 1 females. Costumes, modern; scenery complicated, 
plays a full evening. 

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^p^ 



Dispatches for Washington 

A Play in One Act 

Based on an Actual Incident of the Revolution 



By 

CHARLES C. MATHER 

Author of^* Double-Crossed^'^ etc. 



The professional stage rights in this play are reserved by the 
author, and all persons wishing to produce it publicly and for 
I profit should apply to him for permission in care of the pub- 

i lishers. Amateurs may produce it without permission. 



BOSTON 

WALTER H. BAKER & CO. 
1910 



/ 



4 

Dispatches for Washington 



CHARACTERS 

Jonathan Fisher, a />ainoi of ' 76. 
Sarah Fisher, Ats mother. 
Beth Fisher, ) , . . , 
Hester Fisher. P« ^"^^^- 
Samantha Ross, ] . 7 . ^» .7/ 
Hepzibah Cabot, }^*^^^ ''^ '^^ '"'"''^'' 
Capt. Fairchild, ^//^^ British Army, 
A Corporal, Lieutenant, and several privates of 
the British Army, 




// 



Copyright, 1916, by Charles Chambers Mather. 



AUG -5 !9t6 



'G)CI,D 44561 



"^tO / . 



Dispatches for Washington 



SCENE. — The action takes place in the front yard of the Fisher 
home, near the town of Ripley, not far from Germantown, 
Pa, To the left of one sitting in the audience can be seen 
the front porch of the Fisher home. The pillars are cov- 
ered with vines, as is the upper story of the house, the 
porch only extending to the top of the first story, A fence 
runs across the back of the stage with a gate well toward 
the right, A large tree shades an oldfashioned box well 
near the right side of the stage. The box surrou7iding the 
well is about four and a half feet high, topped by a frame- 
work for the windlass, which draws up the large iron- 
hooped keg. The village of Ripley is off to the right, 

(At the rise of the certain the stage is empty. Presently 
from the direction of the town hoof beats are heard. They 
stop outside and there is a short pause. Then a young 
girl, Samantha Ross, comes running in, curls flying, her 
hat hanging between her shoulders held by the ribbons 
knotted under her chin. She rushes up to the front door 
and bangs the knocker, Sarah Fisher's voice from the 
inside calls, '* Who's there ? '') 

Saman. It's me, Samantha Ross. Hurry — please ! 

Sarah {from the other side of the door^. Be out in a 
minute. {There is a sound as of a door being unbarred. Then 
the door is thrown open and Sarah appears on the porch. 
She is a tall gaunt woman of perhaps fifty years. Her hair 
is gray, but her figure is still straight and her movements quite 
agile and easy. ^ Why, child — what's the matter? You're all 
of a-tremble. Tell me what's the matter ? 

Saman. Oh, Mrs. Fisher, it's about Jonathan ! 

Sarah. Well, well ! What about him ? Has anything hap- 
pened to my boy ? Speak, girl, for heaven's sake, speak ! 



4 DISPATCHES FOR WASHINGTON 

Saman. Wait a minute, Mrs. Fisher. Wait until I get my 
wits together. I am so excited and scared I can't get my mind 
working. 

(She makes an effort to control herself,) 

Sarah. There, there, now, you are all right now. Tell me, 
tell me, what is it that has scared you ? 

Saman. Nothing has happened yet, but I'm afraid it might. 
You see, I got a letter from Jonathan to-day, and he told me he 
was coming home on a furlough. He told me to tell you im- 
mediately, and I started down here with the news when I met 
Hepzibah Cabot, who told me the Redcoats were going to sta- 
tion in our village. 

Sarah. Well, what of that, child ? They've done that be- 
fore. 

Saman. Yes, but it's different this time. They're search- 
ing for a man who is carrying dispatches to General Washing- 
ton, and they are taking every man prisoner they find. She 
said they were stealing everything they could lay their hands 
on, too. 

Sarah. Suppose Jonathan should not arrive before the 
Redcoats got here ? 

Saman. That's it; that's what I'm afraid of. They are 
already in town. Oh, if they catch Jonathan, they'll kill him, 
they'll kill him, Mrs. Fisher. What can we do ? 

Sarah. What can we do ? Use the wits God gave us. We 
can fight, too. Let's see now ; you say they are already in 
town ? How long have they been here ? 

Saman. Just come. I saw the sun shining on their bay- 
onets and white breast straps as I left the village. They came 
in from the east. 

Sarah. They'll rest a while — make preparations for quar- 
ters. That gives us some time to get ready. If Jonathan gets 
here to-day he'll certainly have sense enough to come in under 
cover of darkness. We've got to get our valuables hidden first. 
Wait till I call the girls. {^She goes to the door and calls.) 
Beth ! Hester ! 

H™ 'fisher I ^f'"^ '"'"'''^- ^^"'^"g' ""°'^^'-- 
Sarah. The girls are sewing for the soldiers. They were 
up-stairs when you came or they would have been here by now, 

TT [ {appearing on the porch). Hello, Samantha ! 



DISPATCHES FOR WASHINGTON 5 

Beth. We didn't know you were here. 
{Both embrace Saman.) 

Saman. I came in an awful hurry. I didn't have time to 
do anything but see your mother. 

Beth. What's the matter, mother? 

Sarah. Girls, we've got to use our brains. The Redcoats 
are in Ripley. They're searching the countryside for a mes- 
senger who is carrying dispatches to General Washington. 

Hester. If they come prying around I'll throw hot water 
on them, the red-backed lobsters ! 

Sarah. Worse than that, your brother is coming home on 
a furlough. Samantha just got a letter from him, and if they 
catch him they'll probably kill him — if not worse. 

Beth. Jonathan coming home ! They mustn't catch him ! 

Sarah. Now, you girls run in the house and wrap up the 
silver and get your father's papers out of his desk. We'll put 
them in the well. If those Britishers ever discover that he gave 
any money to the cause, they'll burn the place down. 

Hester. Come on, Beth, we've got to hurry. 

\They exeunt into the house, 

Sarah. Come here until I show you how Henry fixed up 
the well as a hiding place for valuables. He never got to hide 
them there, but I guess his foresight will come in handy yet. 
When he marched away, he never thought the war would ever 
get this far west. I've given all I've got, Samantha, and if I 
have to fight myself, I'll lay down my life as gladly as Henry 
gave his. God grant that Jonathan will be spared me. 

Saman. Amen. I hope he's safe. Won't I be glad to see 
him, though? 

Sarah. Get around on this side, Samantha. Now, lean 
over and look steadily at the other side. Do you see where the 
wall breaks back about twelve feet down ? Henry built a re- 
cess there large enough to conceal a man if necessary. Can 
you make it out ? 

Saman. Yes, I can see it now. My eyes are used to the 
dark. 

Sarah. Now, come around here. {They move to the side 
opposite the house. ^ Look down now. Can you see it? 

Saman. No, it looks straight up and down. 

Sarah. That's the way it looks from both the other sides, 
toOo It can only be seen from the side toward the house. 



6 DISPATCHES FOR WASHINGTON 

Saman. How do you get down to it ? 

Sarah. You notice how large the keg on the rope is ? It 
is large for a special purpose. You could stand in it, while I 
lowered it, do you see ? Here come the girls. 141 show you 
now. 

Saman. You're not going down there ? 

Sarah. No, but Hester is. Here, Hester, you go down. 

Saman. Ugh ! Vd be afraid. 

Hester. I've done it lots of times ; it's fun. 

(^S/ie gets into the well box which is so high that only her 
head and shoulders can be seen over the edge. She gets 
into the keg and her mother seizes the handle of the 
winch, ^ 

Sarah. Are you ready, Hester ? 

Hester. Wait a minute. All right. 

Sarah. Samantha, you and Beth help me on the handle. 
{Both girls grasp the winch and turn it slowly^ and Hester's 
head and shoulders gradually disappear. After a few turns 
they stop and Sarah leans over the edge.) Are you all right, 
Hester ? 

Hester (in a muffled voice). All right. Send down the 
basket. 

(Sarah catches the dog in the ratchet of the winch and lowers 
the basket by a cord. ) 

Sarah. There it is. Have you got it ? 

Hester. All right. I've got it. Hold on the cord, though. 

( While they are busy with this work, Saman. has wandered 
to the back of the stage and now stands with shaded eyes 
looking down the road toward town.) 

Saman. Beth, come here ! What is that down the road ? 
Doesn't it look like smoke to you ? 

Beth (running over). Where? 

Saman. There, by Cabots'. Yes, it is smoke ! See the 
flame. Cabots' house is on fire. The British are at their dirty 
work ! 

Beth. I didn't think they'd start so soon. You're right, it 
is the house! Mother, what shall we do? They'll be here 
next. 



DISPATCHES FOR WASHINGTON 7 

Sarah. Help me on this winch. We'll get our valuables 
put away, anyhow. 

{They pull up Hester, and then they all run to the gate,) 

Saman. Some one is coming down the road on a horse. 
Look ! The flames are all over the place. The dirty, low 
down brutes ! 

Beth. Why, that's Hepsy Cabot on the horse. I can tell 
the way she rides. I^ra going down to meet her. 

{She runs off to Vi.,) 

Saman. I hope Jonathan doesn't try to get in now. If he 
only waits until night ! 

Sarah. Why, Beth has to help Hepsy down ! She must 
have been hurt. Hester, get a chair off the porch ! (Hester 
runs to porch as Saman. and Sarah meet Beth, who is sup- 
porting the half-fainting Hepzibah Cabot. They lead her 
well toward the porch and seat her in the chair that Hester 
has brought.^ Tell us about it, Hepsy. 

Hep. They burned our house over our heads because we 
wouldn't tell them where our silver was. Danny was just going 
out to milk, and one of those dogs hit him with his sword. 
Danny started to run and — and he shot him — shot him in the 
back. Then he tried to kiss me — oh, the vile thing ! He tried 
to kiss me, and when I struck him in the face, he hit me with 
his fist — right here. {Indicates a bruise on her cheek,) I 

don't know how I got here — I guess I just came Oh, 

Danny ! Poor little Danny ! 

{She faints!) 

Sarah. Take her into the house and put her to bed. We've 
got to hurry and get ready for those ruffians. They'll be here 
next. 

(Hester, Beth and Sarah carry Hep. into the house. 
Saman. goes to the well for a cup of water ^ and as her 
back is turned a mart's figure comes in from the left be- 
tween the house and the fence. He sneaks along as if he 
feared detection, Suddefily he sees Saman.) 

Jonathan Fisher. Samantha ! {Runs toward her,) 
Saman. {dropping the cup), Jonathan! {They embrace,) 



8 DISPATCHES FOR WASHINGTON 

Jonathan, you must get away from here. The Redcoats are 
down at Cabot's and will be here in a few minutes. They've 
beaten poor Hepsy into a faint and killed little Danny. 

JoN. The dogs ! I saw the flames and made a detour, 
coming in from behind. I just had to see you, Samantha, 
before I went on. 

Sam AN. Before you go on ? You wrote me you were coming 
home on a furlough. 

Jon. That was a ruse, I am carrying important dispatches 
to General Washington. I couldn't write you that in a letter. 
It might have been intercepted. 

Saman. Then you're the man they're after. Oh, Jonathan, 
Jonathan, you must get out of here quick ! They'll kill you if 
they catch you ! 

JON. They won't catch me. Where's mother and the girls ? 

Saman. They're in the house with Hepsy. I'll go in and 
tell them you're here. 

{She starts toward the house and meets Sarah and the girls 
coming out,^ 

Sarah. Jonathan ! 

{Embraces him^ as do Hester ^«//Beth.) 

Saman. {she has gone to look down the road). Run ! 
Quick ! Hide ! They're coming ! For God's sake, go ! 
Jon. {looking about). Where shall I go ? 
Saman. Here, down the well ! 

(JON. starts toward the well, but Just as he gets to it he 
stops and turns to Saman. He takes a folded paper out 
of his pocket and hands it and his hat to her,) 

. JoN. Here, pin this in my hat ! They may stay here all 
night and keep me down this well. Whatever happens that 
hat must go on to General Washington to-night. Run and 
hide it in the house. Quick ! 

{He gets in the barrel and Sarah starts to lower him; 
Saman. watches the process interestedly. As he is being 
lowered, Capt. Fairchild's voice can be heard from the r.) 

Capt. Squad halt! Ground arms! {The noise accom- 
panying the command can be heard,) Lieutenant Osborne, 



I 



DISPATCHES FOR WASHINGTON 9 

Corporal Hale, come with me ! (^He enters y followed by the 
two officers. By the ti?ne he arrives on the sce?ie Beth and 
Hester are o?i the porch^ but Saman., who has lingered too 
long at the well, has Just started toward it carrying the hat in 
the hand away fro7?i the officers. Sarah is still turning the 
winch.) Here, young lady. You've gone far enough. Halt I 
Here, Lieutenant, you line the young fillies up and watch 
them. Corporal, go in the house and see what you can find in 
the way of valuables. I'll tend to the old dame myself. Come 
here, (^ffe says this to Sarah, who keeps on turning the 
winch,) Come here. I'm talking to you. 

Sarah. I'll come when I get this water up and not before. 
I wouldn't drop it back down the well for the whole British 
Army. 

{As she finishes her speech she leans over the well box and 
draws the barrel to the platform.) 

Capt. Lieutenant, line your beauties up over by the well. 
ril tend to the old hag right now. {The girls are made to 
walk over and stand in a line a short distance in front of the 
well on the house side. Saman. walks in such a manner that 
she has one of the other girls between her and the officers. 
When she gets to the well she drops the hat on the ground and 
steps over it, her skirts hiding it from sight. ) Now, old lady, 
you just step over here or we'll see what the flat side of a sword 
will accomplish. 

{He takes a position near the porch and Sarah crosses over 
to him.) 

Sarah. You beast ! You fighter of women ! You child- 
killer ! 

Capt. Going to show fight, eh? Well, we'll soon take 
that out of you. Where's your husband ? 

Sarah. He's dead. You may thank your stars for that. 
If he were alive I wouldn't have to endure your insults. 

Capt. But he's dead, isn't he? Look here, old lady. 
We've got reliable information that there's a man around this 
section of the country carrying dispatches to Washington. We 
also have information that you might give us a hint as to where 
he is. Now, some people down the road got in trouble a few 
minutes ago because they weren't polite. I hope you won't 
forget your manners. Where is that man ? 



10 DISPATCHES FOR WASHINGTON 

Sarah. Do you think you can scare me? I don't know 
where he is and I don't mind telling you that I wouldn't tell 
you if I did. 

Capt. Well, if he isn't around here I know a certain per- 
son in the village that will taste hot iron before night. Lieu- 
tenant, go and get the boys. We'll give this place a good 
searching. I'll watch the gang. Get over there with the rest 
of your brood, old lady. (Sarah moves into the line at the 
opposite end from Saman.) I'm going to have a look around 
while you are gone. (^To Lieutenant, who is on the point of 
going off,) Wait a minute. (^He takes a step toward the 
well. ) Lieutenant, it seems to me that the bucket in that well 
is pretty big. Doesn't it seem so to you ? 

Lieut. It does, sir. 

CapTc And when we came in the old lady here was pretty 
busy around it, wasn't she? 

Lieut. She was, sir. 

Capt. Well, I don't know why it is, but I must have a 
look into that well before you call the boys. That bucket is 
large enough to hold a man if necessary. [He takes a step 
toward the lane made by the row of sta?iding women and the 
house side of the well. As he passes Saman, she closes her 
eyes and falls limply against him.) What the devil's this? 
Gad, she's fainted ! Lieutenant, go in and get a cushion ! 

(Lieut, exits. Capt. supports her to the chair near the 
porch and then returns to the well bucket ^ which is outside 
the box, for a cup of water. While his back is turned 
Saman. straightens up and makes a motion to the women 
to step back against the well. Capt. returns with water 
and sprinkles it in Saman. 's face. She shudders and 
comes to. The line of women step back against the well 
as soon as Capt.'s back is turned.) 

Saman. {simulating surprise). Oh ! Why, what's the mat- 
ter ? What happened ? 

Capt. You fainted, my pretty. 

Saman. I guess I did. That must have been it. You 
made me stand up too long. I am all right now. 

Capt. Well, you just sit there. Watch her. Lieutenant. I 
don't trust any woman. They don't fool me. (Capt. now 
walks back to the welly and as he passes the line of women 
he discovers JON.'s hat which comes to view as Saman. faints. 



DISPATCHES FOR WASHINGTON II 

He stoops a?id picks it up.) What's this? Whose hat is 
this? (^Examines lifting.) 

Hester. I don't know. 

Capt. You don't know, eh? Well, take a good look at it. 
Maybe you will remember. 

{He hatids the hat to Hester, who looks at it and then 
shakes her head,) 

Hester. I don't know. 

Capt. Well, I know. That hat belongs to a Continental 
soldier, and he isn't far from here either. Stand by. Lieu- 
tenant, for any trouble. Take the hat ! We'll use it as evi- 
dence. {He draws his pistol and starts to the well, but is 
forced to go around to the other side on account of the line of 
women. He leans over and looks for a long time and then 
moves around to another side,) Nothing there. Not room 
enough for a toad on those walls. (^The Corporal enters from 
the house,) Well, what did you find. Corporal? 

CoR. Nothing, sir. 

Capt. I believe that old dog sent us on the wrong trail. 
Wait until we get back to the village. 

Lieut. Pardon me, sir, but I think the owner of this hat 
has a good start on us. We're wasting time here with these 
women. 

Capt. I believe you're right. Let's get away from this. 
Good-afternoon, ladies. {He makes a mock bow and exits, 
followed by the two officers. Outside, the commands can be 
heard,) Squad attention ! Shoulder arms ! Forward march ! 

{The women all move with one accord to the well except 
Saman., who goes to the gate and looks down the road. 
This action takes place after a short pause while the 
Soldiers can be heard marching off,) 

Saman. They're still going ! 
Sarah. Come on, then. 

{They all help with the winch and soon JON.'s head appears 
above the well box. He climbs out,) 

JON. That was a pretty close squeak ! 
Hester. It's a wonder he didn't notice that we had stepped 
back against the well. 

Beth. He was entranced by Samantha's eyes. 



12 DISPATCHES FOR WASHINGTON 

Jon. My God ! Where's my hat? 
Hester. The Britisher took it away with him. 
Jon. The hat and paper gone ! 

Sam AN. The hat but not the paper ! Here it is. I didn't 
have time to pin it in the hat so I hid it here. 

(JShe draws the paper out of her bosom, and hands it to Jon.) 

Jon. Thank heaven ! 

Saman. What is it ? (Jon. hands her the paper which she 
reads aloud.) Dispatches for Washington. 



CURTAIN 



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James Wentworth, an old compositor. 
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VVhittier Jones, a contributor to the ** Item** 
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A Messenger Boy. 
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Act I. — Office of the Elmwood Item, 
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CHARACTERS 

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SherifFc 
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CHARACTERS 
Mr, Bob Grey. 
Mrs. Bob Grey. 

Tom Carter, Mrs. Grefs brother. 
Mrs. Peter Wycombe, a *' personage^'^ 
Mr. Peter Wycombe, a *' pessimist " with a digestion. 
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EETHER OR EYTHER 

A Farce m One Act 

By Robert C. F, Meyers 

Four males, four females. Costumes modern ; scene, an iiiterior. Pla*' 
thirty minutes. A clever parlor play, similar in idea to the popular « Ob- 
^inate Family.'* Sure to please. 

Pricey 75 cents 

THE MORNING AFTER THE PLAY 

A Comedy in One Act 

By Willis S tee It 

Two males, three females. Costumes modern; scene, an interior. 

Plays twenty minutes. An easy piece of strong dramatic interest, orig« 

inally produced in Vaudeville by Christy Clifford. Free to amateurs? 

royalty required for professional performance. 

Pricep IS cents 



n, lU. Pinero's Plays 

Price, 50 Ce ite €acb 



Min PH ANNFI -^^^y ^^ -^^^^ ActSc Six males, five females. 
A"***-'"^""AiliI-iLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ^l^r'^^.Tt 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PRnFIIPATF I*l^yi^ Four Acts. Seven males, five 

* ***-' * IVv/r ljlvJr\ 1 Lj females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THF QrHnni MIQTPFQQ Farce in Three Acts. Nine males, 
IIIL4 iJV/nUULiLrliOi A.£iiJiJ seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^lU^'IZ^Xe 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

^WFFT I AVFAiriFR Comedv in Three Acts. Seven males, 
O ff tuU I Lti\ y LjlMJLiix four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF THTTlMnFURni T Comedv in Four Acts. Ten males, 
in£i inUllLFEilVDULii nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven females. 

* "" * llTlEiiJ Scene, a single interior : costumes, modern. Plays 
a full evening. 

THF WFAITFR ^FY comedy in Three Acts. Eight males, 
IIlEi Yf Li/lIVEiU. OILA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^^Itldlt'^^rferAlU: 

Costumes, modern ; scene, a single interior. Plays a full evenings 



Sent prepaid on receipt of price by 

l^alter H. Pafeer & Companp 

NOo 5 Hamilton Place, Boston, Massachusetts 



LIBRPRY OF CONGRESS 








017 400 776 7 

CJ)e S^ilUatn 3^arren €tittion 
of Paps 

AS Vftll I IKF IT Comedy in Five Acts. Thirteen males, four 
AD IVU Ltin.h 11 females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

f AMIIIF ^^^^^ i^ Five Acts. Nine males, five females. Cos- 
viiiTlli^ULf tumes, modern ; scenery, varied. Plays a full evening. 

INflOMAR I*l^y ^^ ^i"^® Acts. Thirteen males, three females. 
inUviTlAA Scenery varied ; costumes, Greek. Plays a full evening. 

IWARY STUART Tragedy in Five Acts. Thirteen males, four fe- 
ITIiilM (J iUiilil males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE S,'X«efi7mi^1: l7Zi^t^. 

picturesque ; scenery varied. Plays a full evening. 

RIf HFT IFIl -^^^y ^^ ^^^^^ Acts. Fifteen males, tvro females. Scen- 
l\lvllL<L/ii4Ll QYY elaborate : costumes of the period. Plavs a full 



evening. 



THF filVAI S Comedy in Five Acts. Nine males, five females. 
1 llLi 111 T ALtD Scenerv varied : costumes of the neriod. Plavs a 
full evening. 



Scenery varied ; costumes of the period. Plays a 



SHE STOOPS TO CONQUER SfaTettt Slef Icen^'/rr^ 

ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL i°r/en"„>r^7. 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Walttx !^. iBafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



S. J. PARKHILL a CO.. PRINTERS. B06T0N. U.S.A. 



